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whinlatter · 3 months

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author's note | chapter 12: scarecrow🪞

thank you soooo much for reading chapter 12 of beasts. january was long for all of us, but january 1999 was especially long for the worried youngest weasley, stomping around in the highlands snow going through that all too common and deeply humiliating experience: trying to get a text back from a man. embarrassing! pls know the response to this chapter has knocked my socks off and as a thank you i have given you many unsolicited words on mirrors, weird latin names, and thestral erections. to paraphrase movie molly weasley... just what you all wanted, actually! (plus the smallest of sneak peeks at chapter 13)...

✨ spoilers for this chapter below the cut ✨

writing notes and headcanons:

curse you/bless you chapter 12: my god this chapter took SO long to figure out. not just because of real life ramp up (cheers again for being patient legends with this), but just because i couldn’t for the life of me decide how to structure or pace it, kept writing scenes then scrapping them or deciding to keep them for later then repeating that ad infinitum. it had about five different opening scenes til i figured out how it needed to start. i know a lot of fic writers will have discovered this long before i did, but it’s such hard work when you know what the arc of a chapter should be, what the main plot points that need to happen are, where the emotional beats should come, but need to actually write a lot of building-block scenes to create that sense of pace and mood to build up to the important scenes, as well as also weaving together plot-threads that need to happen at this point in the fic in order to set up the later stages. this is how i learned that writing a service/‘turning point’ chapter (and this is, in many ways, a turning point chapter for a lot of different plots) is really really hard. part of the trouble is that to earn the relief and the dam breaking you have to write so many little scenes to create a sense of build up, and because those scenes are sort of service-scenes it’s so easy for them to be boring to write and, usually, boring to read. some realisations about what needed to happen happened way too late (there were no governors in this chapter as of like january 28th lmao. i was out on a walk and swear i stopped dead on the path when i remembered that the governors exist and i could use em to start to add the state in a more meaningful way, and especially the encroachment of the outside world on the castle.) when i posted i was feeling VERY uncertain about the chapter and just wanted it to be out so i could move on from it so honestly the response to it has been like the biggest loveliest shock ever. thanks forever lads. the gems i've been left in the comment section and the askbox will stay with me for a long time.

mirrors: this chapter is structured around the idea of the mirror (sylvia getting us going with the poem, sorry you ended up kicking off a chapter in a harry potter fanfiction mate). it begins with little ginny unable to look herself in the eye in the leaky cauldron’s talking mirror (that freaks her out - where does the mirror keep its brain?). it ends with ginny holding the two-way mirror, looking her own reflection, then watching it fade into harry’s as the two of them finally speak and connect after starting, for the first time, to be properly honest with each other. partly this is me wanting ginny to have a different way to talk to harry, something more honest that doesn’t let her cultivate or craft false versions of her days in letters but actually speak face-to-face much more honestly, and that is harry showing he gets that writing is a more loaded act for ginny than it might be for others. but what i hoped to convey was the idea that the mirror has other significance. the mirror is such an important image and device in harry potter - the mirror of erised, that shows you who you truly are and what you really want; the chipped mirror in the girls’ bathroom that leads to the chamber of secrets, where malfoy will later break down when called upon to do crimes he can’t bear to (plus hermione carrying one to look around corners with the basilisk); the foe glass mirror that shows you when your enemies are close; the two-way mirror itself, the item with the most tragic irony (a lifeline to sirius harry doesn't use to devastating consequences, the portal to malfoy manor that saves the day and costs dobby his life) etc. “what do you see when you look in the mirror?” - it's a line dumbledore first utters in PoS, and that comes back in DH, when harry is grappling with the idea that dumbledore might have lied to him about the answer (the socks are convincing nobody). it’s such a good mission statement for some of the themes that run through the series at large: who are we, really, what is the contents of our soul, who will we be (it is our choices that define us etc). harry potter as a series is also full of mirrors in its structure (see this on the books as mirror pairs), and narrative mirrors are a really important device in characterisation (most of all harry/TMR, the two orphans, but also sirius and snape, ron and draco etc). like most female characters in the series, ginny’s narrative mirror is a bit underdeveloped, but it does really seem to be bellatrix, the narration drawing them into association on multiple occasions to compare and contrast them as characters. (hermione’s is like - what, pansy? develop female characters jkr i beg). canon romantic pairings don't get to be properly fleshed out mirrors of each other, in part because they're a) all het pairings and b) het pairingswhere the female character is either excessively idealised and/or underwritten. it's fic writers' job to problematise, unpack and challenge basically errrrrr all of that. to that end, then...

hinny & mirrors: … what i wanted to suggest is that part of what makes hinny so compelling is the idea that harry and ginny at times come as close as being mirrors of each other of the canon ships, in ways that hinny writers can play with/tease out/develop as a canon coherent choice. i’ve talked previously about how we might see sirius and ginny as narrative mirrors in some ways. but i think harry and ginny are mirror characters too, to some extent. it's not just that they're extremely similar. the harry and ginny plotline as rendered in the series starts to happen the moment ginny starts being herself in ootp, and the two of them are able to see each other clearly and see themselves in the other person. there’s also a reason HBP and CoS are the mirror image books by design, harry and ginny literally paralleling each other with the prince’s book and the diary etc. even their respective journey to their own death mirrors the other person's. playing with the mirror as the item that brings harry and ginny back together after their conflict is therefore me doing a bit of a wink and a nod to this idea: harry and ginny on this journey to seeing themselves as equals, as two sides of a coin. the mirror as a device inherently invites character to see themselves clearly, and, in the case of a two-way mirror, invites the character to consider who they see themselves in, who is their reflection, who is their opposite number. ginny finding her way to a mirror where she can both see her own face and yet also call on harry's is a big moment for her starting to think about who she is, what she wants, and also start to grapple with how she feels about her own selfhood, her soul, her morality, her past. on harry’s part, him mending the mirrors and starting to use them - the mirrors he vowed he would never use with sirius, and that are so connected to his guilt over sirius’ death - is such an important step. it’s (literally) him picking up the pieces and rebuilding the mirror and his connection to another person he sees as his family, moving past his grief and guilt to try to see and be seen more clearly by the person he loves. we know when harry potter looks into the mirror of erised, he sees his family: here we have harry, having come a long way in having to confront, acknowledge, unpack and apologise for some of what he’s asked of ginny over the years, lifting up the mirror given to him by his dead family member and seeing his new family, the family of his future.

on the break up that wasn't... two months of getting the nicest most polite threats in the inbox if i broke harry and ginny up… lads. i would never! the scarecrow of the chapter title is partly a reference to ginny's fears - the inquiry, the forest - but ultimately about her relationship with harry, which she fears is in jeopardy - a fear that, ultimately, turns out to be baseless. part of my point in the hinny plot for this fic is to write a version of them that sees them growing up, and especially growing up together, not burning things down or being emotionally immature and dramatic, but doing the quiet boring grown-up work of learning to become a team, and learning it together. break-up plotlines can work beautifully (and i will always devour them), but i knew it wasn’t going to be a part of this fic as i imagined it. i wanted these two burn-it-all-down impulsive characters not to go for the nuclear option, which they might do in other relationships in their lives, and instead do something arguably harder: commit to doing thinking and reflecting and owning up to where they’ve both gone wrong along the way, because they care about what they’re building between them. there are all sorts of general writing love stories manifesto issues in this for me (people can grow and change and learn when they’re in healthy relationships, the only catalyst for growth in a relationship doesn’t have to be a breakup, female centric dramatic arcs don’t have to be break-up centred even though lots of brilliant ones are). but there are also some hinny specific points i wanted to make. the main one is that one of the things i like most about harry and ginny as a couple is that in canon their drama is largely external to their relationship. they’re just two people who properly like each other, get each other, bring out the best in each other, want to hang out and build something together, despite all they’ve been through. they're two characters that canonically just want to hang out and talk to each other, in a really nice way but also, i think, quite a healthy way too that would see them in good stead in their conflicts. post war hinny absolutely have issues and blindspots and skewed dynamics to confront. they have things to learn and they are going to fuck up (harry hurry up ya thinkin and write her back you dickhead). but it’s my view that they’re not going to have a big dramatic screaming breakup, they’re going to muddle through and figure it out, because what’s true about hinny is that it’s a ship where its two participants are emotionally mature, kind to each other, and ultimately constructive even when they aren’t always with other characters lol. that's my two cents anyway!

quidditch: this WAS in this chapter originally and then it got shunted to chapter 13. partly because this chapter had far too many plots already but also (i think) it’ll make more sense there for lots of juicy reasons. so that’s why you have that cop out line at the start about quidditch practices being on pause x because the author can’t juggle very many balls at once :)

death eater recruitment, or: why are young people drawn to dark magic? what i wanted in this chapter was to have a political flashpoint that kingsley, the politician, can use as a catalyst for the thing he really wants, which is an inquiry into hogwarts, as a microcosm of the wider wizarding world and the symbol of its future. the inquiry should happen, but, in reality, it would take political will to make it happen. it was important for me to have the catalyst for the inquiry be something that would really galvanise and piss off the DA, namely why does everyone care so much about the kids they hate getting involved in violent blood supremacist politics and not care about the victims of death eater hate. of course, the DA are understandably fuming: they suffered so much for fighting against death eaters, and they want their story of persecution and of resistance to be told. but the elephant in the room, and what's awkward in these little moments of right-wing talking points on the wireless or in the press or parents of death eater children pleading for understanding is that, actually, there is quite an important question at play here, which is, wait why would a fourteen year old kid or whatever want to go out and kill muggles? isn't that fucked up? how much agency do we give them? when is it grooming, when is it someone being actively hoodwinked (including the possibility of the imperius curse), and when is it an active choice of intent that deserves punishment? didn't all of that recruitment of young people for extremist politics happen before the war? aren't there child soldiers on both sides of this conflict, and if so, is that ok? how did that happen? these are uncomfortable questions that defy easy answers. they're questions that will sharpen and take on new life in the form of the inquiry for our protagonist and for the DA and resistance as a whole. i am so so excited to develop it let me tell ya!

the governors thinking ginny is dead: this - bleakly - is canon! in CoS, the governors think ginny has already died, that’s why they ask dumbledore to come back. (“Well, you see, Lucius,” said Dumbledore, smiling serenely, “the other eleven governors contacted me today. It was something like being caught in a hailstorm of owls, to tell the truth. They’d heard that Arthur Weasley’s daughter had been killed and wanted me back here at once...") wouldn't dumbledore correct them when ginny was out of the chamber? a question for future chapters...

what's in a name: wouldn't be hp worldbuilding without trying to come up with some good latin and/or greek names to hint at character traits. this chapter we had to stick in a load of minor new characters (human and otherwise), so to google we went. we have benignus tuft, the governor - benignus giving us benign, so someone who is at best harmless and mild, but at worst ineffective and sort of useless. we have another governor, coelamus (koelemos), minor deity or spirit, god of stupidity and foolishness (of course ginny isn't dead you idiot). for the thestrals, we know hagrid named one of them, his favourite in canon, who is called tenebrus, like tenebrous, in english, meaning shadowy or obscure (from the latin tenebrae, meaning darkness). so the other thestrals got their names on a similar theme: caligo (darkness, fog, mist) anima (in some variations, the soul), and umbra (shadow). umbra's got a little deathly bun in the oven, which is going to need a name, too - much like a certain owl...

thestrals: the worldbuilding around thestral and thestral breeding was maybe the most fun but strangest part of this chapter to write (i googled a lot of stuff about horse pregnancy and birth and saw images i do not wish to see again). i will thank david yates for giving me the idea and then go back to never thanking him ever again. in canon, we know the thestrals live in the forest and that ginny is familiar with their habits as early as ootp, long before she's able to see them ('because in case you hadn’t noticed, you and hermione are both covered in blood,' she said coolly, 'and we know hagrid lures thestrals with raw meat, so that’s probably why these two turned up in the first place…', in ootp) the only thing we know about the hogwarts' thestrals' origins is dean thomas accidentally insulting firenze ("did hagrid breed you, like the thestrals?”). this is hardly concrete knowledge or evidence, so in this chapter i wanted to play with the idea of hagrid quite readily admitting he doesn't really know how thestrals come to breed, part of these magical mysteries of the natural world that are beyond wizarding knowledge. we do know, though, that thestrals have some connection with death, especially to bearing witness and processing it. i think they're one of the most intriguing and poignant images in canon (retconning over their visibility aside, joanne), and i'm excited for the plot that explores these themes and ideas as the different plots start to wind together. (a spoilery clue for ya: hagrid mentions time periods where the thestral herd has previously grown... thank you to @saintsenara, the real unsung hero/brains behind the operation, who puts up with all of my inane questions and thinking at her and always proves enormously and generously helpful, especially in this instance with some crucial date deets). also i took out a joke about thestral erections because it wasn't the vibe and i think we can all agree that is for the best.

songs from the playlist for these chapters:

had to wap out the celtic vibes on at least one song now we're back in the castle ya feel! neko case, herself a ginger goddess, has provided too many great songs for inspo for this fic and one of my favourite's of hers is in this week's batch (the most tender place in my heart is for strangers/i know it's unkind but my own kind is much too dangerous). the hinny songs for this week are star by mitski (that love is like a star, it's gone/we just see it shining/it's traveled very far/i'll keep a leftover light burning/so you can keep looking up/isn't that worth holding on?) and comrade sweetheart by my beloved bonny light horseman/anaïs mitchell (who's going to bind up your wounds? who when the wildflowers bloom? no other lover but you... in the dusk of my days.) it's about the blessing of time, the hinny DH parting gift! hours and days and maybe years baby!